1. Technical Field
The present disclosure relates generally to toys and various interactive entertainment/amusement devices, as well as playing music and other sounds thereon. More particularly, the present disclosure relates to synchronized multiple device audio playback and interaction.
2. Related Art
Children are often attracted to interactive amusement devices that provide both visual and aural stimulation. In recognizing this attraction, a wide variety have been developed throughout recent history, beginning with the earliest “talking dolls” that produced simple phrasings with string-activated wood and paper bellows, or crying sounds with weight activated cylindrical bellows having holes along its side. These talking dolls were typically limited to crying “mama” or “papa.”
Another well-known apparatus that generates sounds is the music box, which is generally comprised of a comb with each tooth thereof having a specific length that, when mechanically plucked, emits a sound at a particular frequency or musical note. A disc or cylinder having pins or other protuberances was rotated along the comb at a set speed by a clockwork mechanism that was manually wound. The position of the pins could be variously arranged and spaced to pluck the desired tooth of the comb at a specific time and combined to reproduce a musical composition. Music boxes were typically standalone devices enclosed in snuff boxes, though due to their relatively small size, they could be incorporated into dolls and other toys.
Further advancements utilized wax cylinder phonograph recordings. Various phrases were recorded on the phonographs for playback through the dolls to simulate dialogue. Still popular among collectors today, one historically significant embodiment of a talking doll is the “Bebe Phonographe” made by the Jumeau Company in the late 19th century. In addition to spoken words, music was also recorded on the phonograph so that the doll could sing songs and nursery rhymes.
Beyond the audio output capabilities, efforts to make dolls more lifelike led to movable limbs and facial features. In some cases the movement of such features was coordinated with the audio output. For example, when a phrase was uttered, the jaws of the doll could be correspondingly moved. The instructions required for such synchronized animation of the features of the doll were stored in a cassette recording that included the electrical control signals for the servo motors actuating the movable features along with the audio signal.
As the use of digital electronics became more feasible and cost effective, gradually all functions of the toys have come to be implemented on programmable integrated circuit devices such as microcontrollers. The play pattern or routine, including all audio information and mechanical actuation sequences therefor, are stored on memory devices for subsequent retrieval and processing by the microcontroller. Pursuant to the specific programmed instructions, digital audio data is passed to a digital-to-analog converter, with the resulting analog signal being passed to an audio transducer (speaker). Movements of the mechanical features of the toys is represented as a series of motor activation and deactivation signals, which are also generated by the processor pursuant to the programmed instructions.
Earlier digital processor-operated dolls were typically single standalone units that functioned autonomously. To the extent any external inputs affected its play pattern, such inputs were received from the user via buttons, sensors, and other on-board devices connected to the processor. In more sophisticated devices, wired or wireless remote control devices could communicate with the doll to provide operational directions thereto. The availability of inter-processor data communication modalities in microcontrollers led to the development of systems of multiple dolls that can communicate with each other. While each doll can have its own play routine, the flow of that routine may be altered by input signals received from another doll. For example, one doll could generate a first part of a dialogue, while another doll could respond with a second part of the same dialogue.
Along the same lines as talking/singing dolls, musical instruments, and simplified versions thereof, are also popular amusement devices for children. Depending on the target age range, the level of realism may be varied. For instance, in preparation for transitioning to real musical instruments, a scaled down and lower fidelity device, but otherwise requiring the same instrumentation skills, may be appropriate. Alternatively, for younger children with whom the goal is to introduce the joys of playing music, the number of inputs/producible sounds may be greatly reduced, or a single input may be operative to produce a sequence of multiple sounds. Such devices can be driven by electronic synthesizers, which may be controlled by programmable data processors or integrated circuit devices.
Conventional amusement devices that allow the operator to produce or manipulate musical outputs and sounds are usually standalone units with limited possibilities for amalgamation with other sounds from different devices unless independently operated. Just as ensemble performances with real instruments can be more captivating and enjoyable than solo performances for some, such is likewise the case with simulated instruments and other amusement devices that output music. Accordingly, there is a need in the art for synchronized multiple device audio playback and interaction.